Halloween Poetry & Meaning
Selected Halloween Poems
Events PoetryLa Belle Dame Sans Merci
Ah, what can ail thee, wretched wight,
Alone and palely loitering;
The sedge is withered from the lake,
And no birds sing.
Ah, what can ail thee, wretched wight,
So haggard and so woe-begone?
The squirrel’s granary is full,
And the harvest’s done.
I see a lilly on thy brow,
With anguish moist and fever dew;
And on thy cheek a fading rose
Fast withereth too.
I met a lady in the meads
Full beautiful, a faery’s child;
Her hair was long, her foot was light,
And her eyes were wild.
I set her on my pacing steed,
And nothing else saw all day long;
For sideways would she lean, and sing
A faery’s song.
I made a garland for her head,
And bracelets too, and fragrant zone;
She looked at me as she did love,
And made sweet moan.
She found me roots of relish sweet,
And honey wild, and manna dew;
And sure in language strange she said,
I love thee true.
She took me to her elfin grot,
And there she gazed and sighed deep,
And there I shut her wild sad eyes—
So kissed to sleep.
And there we slumbered on the moss,
And there I dreamed, ah woe betide,
The latest dream I ever dreamed
On the cold hill side.
I saw pale kings, and princes too,
Pale warriors, death-pale were they all;
Who cried—”La belle Dame sans merci
Hath thee in thrall!”
I saw their starved lips in the gloam
With horrid warning gaped wide,
And I awoke, and found me here
On the cold hill side.
And this is why I sojourn here
Alone and palely loitering,
Though the sedge is withered from the lake,
And no birds sing.
Overview Short Summary
A knight tells how he met a mysterious fairy woman who enchanted him. After dreaming of other ruined men trapped by her power, he wakes alone, pale, and abandoned in a desolate landscape.
Core Ideas Main Themes
- Enchantment: The fairy woman has a supernatural power over the knight.
- Dangerous beauty: Attraction becomes a trap that drains life and strength.
- Isolation: The repeated empty landscape shows emotional and spiritual abandonment.
Style Tone and Literary Devices
The tone is haunting, dreamlike, and mournful. The poem uses repetition, symbolism, supernatural imagery, contrast, and ballad structure, making it useful for spooky Halloween poetry and gothic classroom reading.
The Spider and the Fly
Will you walk into my parlour, said a Spider to a Fly;
‘Tis the prettiest little parlour that ever you did spy.
The way into my parlour is up a winding stair,
And I have many pretty things to shew when you get there.
Oh, no, no! said the little Fly; to ask me is in vain:
For who goes up that winding stair shall ne’er come down again.
Said the cunning Spider to the Fly, Dear friend, what can I do
To prove the warm affection I have ever felt tor you?
I have within my parlour great store of all that’s nice:
I’m sure you’re very welcome; will you please to take a slice!
Oh, no, no! said the little Fly; kind sir, that cannot be;
For I know what’s in your pantry, and I do not wish to see.
Sweet creature, said the Spider, you’re witty and you’re wise;
How handsome are your gaudy wings, how brilliant are your eyes!
I have a little looking-glass upon my parlour-shelf;
If you’ll step in one moment, dear, you shall behold yourself.
Oh, thank you, gentle sir, she said, for what you’re pleased to say;
And wishing you good morning now, I’ll call another day.
The Spider turn’d him round again, and went into his den,
For well he knew that silly Fly would soon come back again.
And then he wore a tiny web, in a little corner sly,
And set his table ready for to dine upon the Fly;
And went out to his door again, and merrily did sing,
Come hither, pretty little Fly, with the gold and silver wing.
Alas, alas! how very soon this silly little Fly,
Hearing his wily flattering words, came slowly fluttering by.
With humming wings she hung aloft, then nearer and nearer drew.
Thinking only of her crested head and gold and purple hue:
Thinking only of her brilliant wings, poor silly thing! at last,
Up jump’d the cruel Spider, and firmly held her fast!
He dragg’d her up his winding stair, into his dismal den,
Within his little parlour; but she ne’er came down again.
And now, my pretty maidens, who may this story hear,
To silly, idle, flattering words, I pray you ne’er give ear;
Unto an evil counsellor close heart, and ear, and eye,
And learn a lesson from this tale of the Spider and the Fly.
Overview Short Summary
A spider flatters a fly until she enters his parlour and is trapped. The poem works as a cautionary tale about vanity, temptation, and trusting dangerous voices.
Core Ideas Main Themes
- Temptation: The spider uses praise and comfort to lure the fly.
- Vanity: The fly is caught because she enjoys flattering words.
- Moral warning: The poem warns readers to avoid deceptive charm.
Style Tone and Literary Devices
The tone is playful but dark. The poem uses dialogue, rhyme, personification, suspense, and moral irony, making it a strong Halloween poem for kids, students, and classroom reading.
The Apparition
WHEN by thy scorn, O murd’ress, I am dead,
And that thou thinkst thee free
From all solicitation from me,
Then shall my ghost come to thy bed,
And thee, feign’d vestal, in worse arms shall see:
Then thy sick taper will begin to wink,
And he, whose thou art then, being tired before,
Will, if thou stir, or pinch to wake him, think
Thou call’st for more,
And, in false sleep, will from thee shrink:
And then, poor aspen wretch, neglected thou
Bathed in a cold quicksilver sweat wilt lie,
A verier ghost than I.
What I will say, I will not tell thee now,
Lest that preserve thee; and since my love is spent,
I’d rather thou shouldst painfully repent,
Than by my threatenings rest still innocent.
Overview Short Summary
The speaker imagines returning as a ghost after death to haunt the person who rejected him. The poem is intense, bitter, and dramatic, turning heartbreak into a ghostly threat.
Core Ideas Main Themes
- Revenge: The speaker wants emotional power over the person who hurt him.
- Haunting: The ghost becomes a symbol of unresolved anger and desire.
- Fear and guilt: The poem imagines terror as punishment for rejection.
Style Tone and Literary Devices
The tone is bitter, threatening, and ghostly. Donne uses dramatic address, hyperbole, paradox, and supernatural imagery, making it suitable for readers looking for ghost poems and scary Halloween poems with analysis.
Witches’ Chant from Macbeth
Round about the cauldron go;
In the poison’d entrails throw.
Toad, that under cold stone
Days and nights hast thirty-one
Swelter’d venom sleeping got,
Boil thou first i’ the charmed pot.
Double, double toil and trouble;
Fire burn, and cauldron bubble.
Fillet of a fenny snake,
In the cauldron boil and bake;
Eye of newt and toe of frog,
Wool of bat and tongue of dog,
Adder’s fork and blind-worm’s sting,
Lizard’s leg and owlet’s wing,
For a charm of powerful trouble,
Like a hell-broth boil and bubble.
Double, double toil and trouble;
Fire burn and cauldron bubble.
Scale of dragon, tooth of wolf,
Witches’ mummy, maw and gulf
Of the ravin’d salt-sea shark,
Root of hemlock digg’d i’ the dark,
Liver of blaspheming Jew,
Gall of goat, and slips of yew
Silver’d in the moon’s eclipse,
Nose of Turk and Tartar’s lips,
Finger of birth-strangled babe
Ditch-deliver’d by a drab,
Make the gruel thick and slab:
Add thereto a tiger’s chaudron,
For the ingredients of our cauldron.
Double, double toil and trouble;
Fire burn and cauldron bubble.
Cool it with a baboon’s blood,
Then the charm is firm and good.
Overview Short Summary
This famous witches’ chant describes the ingredients of a dark spell boiling in a cauldron. Its repeated refrain and strange imagery make it one of the most recognizable witch passages in English literature.
Core Ideas Main Themes
- Witchcraft: The chant centers on ritual, spell-making, and supernatural power.
- Chaos: The ingredients create a world of disorder, fear, and corruption.
- Performance: The rhythm and repetition make the passage dramatic and memorable.
Style Tone and Literary Devices
The tone is dark, ritualistic, and theatrical. Shakespeare uses repetition, rhyme, grotesque imagery, alliteration, and incantation-like rhythm, making it ideal for Halloween poems about witches and classroom recitation.
Halloween
Upon that night, when fairies light
On Cassilis Downans dance,
Or owre the lays, in splendid blaze,
On sprightly coursers prance;
Or for Colean the route is ta’en,
Beneath the moon’s pale beams;
There, up the cove, to stray and rove,
Among the rocks and streams
To sport that night.
Among the bonny winding banks,
Where Doon rins, wimplin’ clear,
Where Bruce ance ruled the martial ranks,
And shook his Carrick spear,
Some merry, friendly, country-folks,
Together did convene,
To burn their nits, and pou their stocks,
And haud their Halloween
Fu’ blithe that night.
The lasses feat, and cleanly neat,
Mair braw than when they’re fine;
Their faces blithe, fu’ sweetly kythe,
Hearts leal, and warm, and kin’;
The lads sae trig, wi’ wooer-babs,
Weel knotted on their garten,
Some unco blate, and some wi’ gabs,
Gar lasses’ hearts gang startin’
Whiles fast at night.
Then, first and foremost, through the kail,
Their stocks maun a’ be sought ance;
They steek their een, and graip and wale,
For muckle anes and straught anes.
Poor hav’rel Will fell aff the drift,
And wander’d through the bow-kail,
And pou’t, for want o’ better shift,
A runt was like a sow-tail,
Sae bow’t that night.
Then, staught or crooked, yird or nane,
They roar and cry a’ throu’ther;
The very wee things, todlin’, rin,
Wi’ stocks out owre their shouther;
And gif the custoc’s sweet or sour.
Wi’ joctelegs they taste them;
Syne cozily, aboon the door,
Wi cannie care, they’ve placed them
To lie that night.
The lasses staw frae ‘mang them a’
To pou their stalks of corn:
But Rab slips out, and jinks about,
Behint the muckle thorn:
He grippet Nelly hard and fast;
Loud skirl’d a’ the lasses;
But her tap-pickle maist was lost,
When kitlin’ in the fause-house
Wi’ him that night.
The auld guidwife’s well-hoordit nits,
Are round and round divided,
And monie lads’ and lasses’ fates
Are there that night decided:
Some kindle coothie, side by side,
And burn thegither trimly;
Some start awa, wi’ saucy pride,
And jump out-owre the chimlie
Fu’ high that night.
Jean slips in twa wi’ tentie ee;
Wha ’twas she wadna tell;
But this is Jock, and this is me,
She says in to hersel:
He bleezed owre her, and she owre him,
As they wad never mair part;
Till, fuff! he started up the lum,
And Jean had e’en a sair heart
To see’t that night.
Poor Willie, wi’ his bow-kail runt,
Was brunt wi’ primsie Mallie;
And Mallie, nae doubt, took the drunt,
To be compared to Willie;
Mall’s nit lap out wi’ pridefu’ fling,
And her ain fit it brunt it;
While Willie lap, and swore by jing,
‘Twas just the way he wanted
To be that night.
Nell had the fause-house in her min’,
She pits hersel and Rob in;
In loving bleeze they sweetly join,
Till white in ase they’re sobbin’;
Nell’s heart was dancin’ at the view,
She whisper’d Rob to leuk for’t:
Rob, stowlins, prie’d her bonny mou’,
Fu’ cozie in the neuk for’t,
Unseen that night.
But Merran sat behint their backs,
Her thoughts on Andrew Bell;
She lea’es them gashin’ at their cracks,
And slips out by hersel:
She through the yard the nearest taks,
And to the kiln goes then,
And darklins graipit for the bauks,
And in the blue-clue throws then,
Right fear’t that night.
And aye she win’t, and aye she swat,
I wat she made nae jaukin’,
Till something held within the pat,
Guid Lord! but she was quakin’!
But whether ‘was the deil himsel,
Or whether ’twas a bauk-en,
Or whether it was Andrew Bell,
She didna wait on talkin’
To spier that night.
Wee Jennie to her grannie says,
“Will ye go wi’ me, grannie?
I’ll eat the apple at the glass
I gat frae Uncle Johnnie:”
She fuff’t her pipe wi’ sic a lunt,
In wrath she was sae vap’rin’,
She notice’t na, an aizle brunt
Her braw new worset apron
Out through that night.
“Ye little skelpie-limmer’s face!
I daur you try sic sportin’,
As seek the foul thief ony place,
For him to spae your fortune.
Nae doubt but ye may get a sight!
Great cause ye hae to fear it;
For mony a ane has gotten a fright,
And lived and died deleeret
On sic a night.
“Ae hairst afore the Sherramoor, —
I mind’t as weel’s yestreen,
I was a gilpey then, I’m sure
I wasna past fifteen;
The simmer had been cauld and wat,
And stuff was unco green;
And aye a rantin’ kirn we gat,
And just on Halloween
It fell that night.
“Our stibble-rig was Rab M’Graen,
A clever sturdy fallow:
His son gat Eppie Sim wi’ wean,
That lived in Achmacalla:
He gat hemp-seed, I mind it weel,
And he made unco light o’t;
But mony a day was by himsel,
He was sae sairly frighted
That very night.”
Then up gat fechtin’ Jamie Fleck,
And he swore by his conscience,
That he could saw hemp-seed a peck;
For it was a’ but nonsense.
The auld guidman raught down the pock,
And out a hanfu’ gied him;
Syne bade him slip frae ‘mang the folk,
Some time when nae ane see’d him,
And try’t that night.
He marches through amang the stacks,
Though he was something sturtin;
The graip he for a harrow taks.
And haurls it at his curpin;
And every now and then he says,
“Hemp-seed, I saw thee,
And her that is to be my lass,
Come after me, and draw thee
As fast this night.”
He whistled up Lord Lennox’ march
To keep his courage cheery;
Although his hair began to arch,
He was say fley’d and eerie:
Till presently he hears a squeak,
And then a grane and gruntle;
He by his shouther gae a keek,
And tumbled wi’ a wintle
Out-owre that night.
He roar’d a horrid murder-shout,
In dreadfu’ desperation!
And young and auld came runnin’ out
To hear the sad narration;
He swore ’twas hilchin Jean M’Craw,
Or crouchie Merran Humphie,
Till, stop! she trotted through them
And wha was it but grumphie
Asteer that night!
Meg fain wad to the barn hae gaen,
To win three wechts o’ naething;
But for to meet the deil her lane,
She pat but little faith in:
She gies the herd a pickle nits,
And two red-cheekit apples,
To watch, while for the barn she sets,
In hopes to see Tam Kipples
That very nicht.
She turns the key wi cannie thraw,
And owre the threshold ventures;
But first on Sawnie gies a ca’
Syne bauldly in she enters:
A ratton rattled up the wa’,
And she cried, Lord, preserve her!
And ran through midden-hole and a’,
And pray’d wi’ zeal and fervour,
Fu’ fast that night;
They hoy’t out Will wi’ sair advice;
They hecht him some fine braw ane;
It chanced the stack he faddom’d thrice
Was timmer-propt for thrawin’;
He taks a swirlie, auld moss-oak,
For some black grousome carlin;
And loot a winze, and drew a stroke,
Till skin in blypes cam haurlin’
Aff’s nieves that night.
A wanton widow Leezie was,
As canty as a kittlin;
But, och! that night amang the shaws,
She got a fearfu’ settlin’!
She through the whins, and by the cairn,
And owre the hill gaed scrievin,
Whare three lairds’ lands met at a burn
To dip her left sark-sleeve in,
Was bent that night.
Whyles owre a linn the burnie plays,
As through the glen it wimpl’t;
Whyles round a rocky scaur it strays;
Whyles in a wiel it dimpl’t;
Whyles glitter’d to the nightly rays,
Wi’ bickering, dancing dazzle;
Whyles cookit underneath the braes,
Below the spreading hazel,
Unseen that night.
Among the brackens, on the brae,
Between her and the moon,
The deil, or else an outler quey,
Gat up and gae a croon:
Poor Leezie’s heart maist lap the hool!
Near lav’rock-height she jumpit;
but mist a fit, and in the pool
Out-owre the lugs she plumpit,
Wi’ a plunge that night.
In order, on the clean hearth-stane,
The luggies three are ranged,
And every time great care is ta’en’,
To see them duly changed:
Auld Uncle John, wha wedlock joys
Sin’ Mar’s year did desire,
Because he gat the toom dish thrice,
He heaved them on the fire
In wrath that night.
Wi’ merry sangs, and friendly cracks,
I wat they didna weary;
And unco tales, and funny jokes,
Their sports were cheap and cheery;
Till butter’d so’ns, wi’ fragrant lunt,
Set a’ their gabs a-steerin’;
Syne, wi’ a social glass o’ strunt,
They parted aff careerin’
Fu’ blythe that night.
Overview Short Summary
Robert Burns describes a Scottish Halloween gathering filled with folk customs, courtship games, fortune-telling, fear, jokes, and community celebration. The poem preserves the social and supernatural atmosphere of an older Halloween tradition.
Core Ideas Main Themes
- Folk tradition: The poem records Halloween games, rituals, and seasonal beliefs.
- Community: Halloween is shown as a shared night of stories, laughter, and fear.
- Superstition: Characters test fate through charms and customs, often with comic results.
Style Tone and Literary Devices
The tone is lively, comic, rustic, and eerie. Burns uses dialect, narrative detail, rhyme, repetition, and folk imagery, making this one of the most important classic Halloween poems for readers interested in seasonal tradition.
Reader Questions
Frequently Asked Questions
What are the best Halloween poems for students?
Good Halloween poems for students include “Hallowe’en” by Joel Benton, “Halloween” by Arthur Peterson, “Haunted Houses” by Henry Wadsworth Longfellow, “The Witch” by Mary Elizabeth Coleridge, and “The Spider and the Fly” by Mary Howitt. These poems are useful because they combine seasonal imagery with clear themes and literary devices.
Which Halloween poems are good for kids?
For younger readers, “Hallowe’en,” “Halloween” by Arthur Peterson, and “The Spider and the Fly” are easier choices because they include fairies, moonlight, spiders, rhymes, and a story-like structure. Very scary poems such as “The Apparition” may be better for older students.
What themes appear in Halloween poems?
Common Halloween poem themes include ghosts, witches, haunted houses, fear, imagination, death, mystery, temptation, folk customs, and the boundary between the living world and the spirit world.
Which literary devices are common in Halloween poetry?
Halloween poems often use imagery, symbolism, personification, repetition, rhyme, alliteration, contrast, gothic setting, and supernatural allusion to create mood and suspense.
